40. Carmen Sandiego - Joven Edad
Independiente, "Superado" ♫♫♫
Named after everyone’s favorite elusive educational criminal mastermind, Uruguay-based band Carmen Sandiego makes self-aware, tongue-in-cheek music with a fantastic dry humor a la Leslie Nielsen (RIP) in The Naked Gun series. Think very matter-of-fact songs about kisses that taste like cheese and induce vomit. There's actually one on this album. Musically, Joven Edad, is, for the most part, pretty simple and straightforward rock and roll. But in terms of tone and content matter, the band displays a great range that takes us from irreverent and IDGAF in “Destape” to dark (and kind of weird) in “Asco al sexo” to the soft and sweet, almost twee “Lunes.” - BM
39. Hello Seahorse! - Lejos. No Tan Lejos
MUN/Nacional Records. "7 Dias"
Being labeled as Mexico’s new great band is a heavy title, but Hello Seahorse! keeps things in perspective, persisting on a personal artistic approach that’s unattached to their increasing popularity. By now, many of us have completely forgotten about their sunny-bright beginnings. In a matter of two years, Hello Seahorse! grew up into a multidimensional band with the ideas and skill to merit universal acclaim. The album is not an extension of Bestia, this is more of a transitory album where they have set new horizons. Their vision is blurry and their ambition is profound, yet Lejos. No Tan Lejos (produced by Money Mark & Yamil Rezc) is an interesting step on the band’s competence to test and stylize music through nostalgic lens. - JSB
38. Los Mil Jinetes. Reconoceronte
Cazador. "Tarde Muy Tarde" ♫♫♫
Describing Latin America’s latest input on indie-folk as secondary garment is not an insult but a fitting quality on music’s extraordinary ways to manifest its force. Chile’s Los Mil Jinetes belong to this group, an impressive and nostalgic embroidery comprised by the Itinerant and almost nomadic musicians Andres Zaneta and Fother Muckers’ lead vocalist Cristobal Briceño. Los Mil Jinetes made quite an impression with their wonderfully titled debut Andate Cabrita, a standout among Chile’s blooming indie scene. Reconoceronte is a huge step forward, not only is it full of wonderful song but its production is also impeccable. Los Mil Jinetes employ trippy vocal harmonies and splendorous vivid instrumentation, all adding up to cacophonous depth and occasionally, layers of pure hippy magic. - CR
37. Los Ginkas - Ongi Ibili Pop-Abilly
This was the last album to slip into our iPods this year, and indeed, it’s as slippery as it can get. It’s today’s trend, but lo-fi rock has always sound better with female vocals, even better if they’re formulated on a school-choir format. In “De Golde y Porrazo”, Los Ginkas sing about sticky songs and a sort of collective dance project, something they call pop. In the next song, “A Casa”, they argue their feet are slipping away (“no ves que se nos van los pies”), as if the catchy pop-punk they created takes a life of its own. Less sunny than Best Coast and less twee than La Casa Azul, Los Ginkas deliver a great presentation EP and place themselves as one of the bands to watch next year. - CR
36. Chancha Vía Circuito - Río Arriba
ZZK Records. "Caracol" (Tremor)
Pedro Canale and his Chancha Vía Circuito project is the latest ZZK outpost dedicated to exporting cumbia digital outside of its South American domain. On his full-length LP, the wonderfully titled Río Arriba, Canale continues to propel ZZK’s mission statement of hazy, indigenous-aping/sampling shuffle step, while also expanding the boundaries of the genre outside of the brash-beats of Toy Selectah and King Coya.Indeed, Río Arriba likely has more in common with indie records like Espíritu Invisible than any of its parent label’s excellent compilations. The dance beats moves at a hiker’s pace; the rubato steeped in a steady groove. Under lesser artists, the pacing would be at a risk of inducing boredom, but Canale still fits his share of grooves in throughout. - AC
35. TV Gamma - TV Gamma
Cazador. "Tan Normal" ♫♫♫
“Es la revelación de tu imaginación, atento, viene la programación.” Beyond the multiplex and on to absolute engagement, TV Gamma’s disinterred debut combusts on its own landscape, yet it storms its beauty from the ripeness of the moment. That awesome album cover is warning enough, the album is at an alarming stage of manifestation, with all senses pointing to a desired symmetry. With the help of up-in-the-air pedals & reverbs, mystified drums and distorted hooks, TV Gamma constructs a naturally divisive self-titled record, some will flee from boredom, and others will appreciate a set of 10 songs with prime encoding. Like cautious entrepreneurs, TV Gamma is the kind of band that surveys the ground they step on, which is why their lo-fi aesthetic feels a bit ecstatic. TV Gamma’s mechanisms are questionable, thrilling, confusing and ultimately, effective. - CR
34. Balún - Memoria Textil
Sgulp! Records. "Muchas Muchas Veces" ♫♫♫
Aural hues, infectious vocals and sophisticated 8bits; Puerto Rico’s Balún crafted one hell of a good mini-album, one that blossoms as it gets unfold. The New York-based band has been under our radar for a while, finding proper momentum through the release of EPs, singles and a bunch of compilations. Recently, they released the captivatingly forlorn and ghostly “Camila”, which is actually an upfront from their forthcoming LP, the second in their career. The song revealed a sharp, awe-inspiring and clear-headed Balún, Memoria Textil might be an ‘in between mini-album’ but what a wonderful endearing surprise.The band is still branching out their sound, holding their feet in that sort of substantial equation where they’re still allowed to chase themes and music channels. It’s nice to see they don’t just stop at brainstorming and actually find texture along the way. - CR
33. Fother Muckers. Si no tienes nada que decir entonces calla
Fother Muckers is one of those bands you learn to recognize through the years but get lost in the bunch. They don’t show much personality beyond their cool band name, nor is their music immediately arousing, but I always find myself interested. With four releases under their belt, the band is earning respect and a well base of followers, their latest installment is sure to conquer more hearts. Si no tienes nada que decir entonces calla is their most inspiring moment yet. While the album’s title doesn’t do much for me, it does find its place throughout the album. Not to say this is an album framed by positivism, it rather avoids choice while still holds its pieces together by means of experience and yes, some tricks. - CR
32. Chikita Violenta. Tr3s
Arts & Crafts. "The Pause"
Let me be the one to call Chikita Violenta’s Tr3s as the one intimidating record to Club Fonograma’s staff this year. It’s the one album this year we observed from a distance. It might be its progressiveness or that it’s just a pretty damn hard record to immerse in. It has taken months to see it unfold, and as expected, it’s flourishing with menacing beauty; so much, it feels so right to give it a spot on this list even if we never had the balls to properly review it. With such memorable songs as "Roni", "Tired" or "All I Need's a Little More," this is a not to miss record. With repeated listens, you’ll learn to respect it as a friendly pedestrian record, appreciate its narrative arcs, the coy sound and the subdued atmospheres. - JSB
31. Calle 13. Entren Los Que Quieran
Placing yourself into any sort of zeitgeist isn’t fundamentally difficult (see any number of reality television “stars”), but maintaining your place in the cultural cognizance without shredding either your dignity or your integrity is, for all but a select few, virtually impossible. Yet here’s the point that the boys of Calle 13 find themselves in at this exact moment. If their career trajectory dovetailed quite nicely with the stagflation of the reggaetón era, their present situation finds them as the acknowledged flag-wavers of Latin pop music’s infantry. Today, they are the sound of Latin hip-hop; they are the mainstream; they are your grandfather’s favorite “young” group; the once-underdog now the establishment. - AC
30. Maria Rodés. Una Forma de Hablar
BCore Disc. "Lo Que Hay Que Oir"
Rodés’ songs have the immediacy of modern folk, not as extreme as the irreverence of anti folk, but decidedly fun, honest, organic, definitely fresh, definitely strong and particularly mesmerizing. Think Sufjan Stevens and then try to think Juana Molina at the same time. Maria brings truly memorable melodies to the table, sorta like (instant) classic, timeless melodies; gorgeous yet simple and (as it’s been said before when referring to her) naïve tunes that work perfectly as canvases for her truly felt, sincere lyrics, which mainly deal with the matters of relationships, people, thoughts. Everyday things any young girl could relate to. Birds chirp, more hiss, wind, wind instruments. Maria Rodés and her 2010 album, her first under her own name, Una Forma de Hablar. - JMT
29. Prisma en Llamas - Aeropuerto Extrañamente Blanco
GsshGssh Records. "El Primer Amor del Lobo"
If the waters of compositional avant-pop heaven were to congregate Los Planetas with Animal Collective and El Guincho, it would sound something like Prisma En Llamas. This hot new band from Madrid hints back to some of the late 90s art-rock, to that exciting time frame that anticipated a new millennium by wanting to jump into the future while dragging the goodies from the past. Aeropuerto Extrañamente Blanco converges the spacious conditions of a band that can be both, catchy and abstract, delivering uneasy songs heavy on harmonies and vocal assembly, while keeping an indeterminate idiosyncratic profile sure to surprise more than a few. Aeropuerto Extrañamente Blanco is only 13 minutes long, rarely has a band revealed so much at such conditions and resources, simply gorgeous. - CR
28. Las Robertas - Cry Out Loud
Art Fag Recordings. "Back At The End" ♫♫♫
Skuzzy riffs, cavernous drums and a nosebleed, things you're likely to find in Cry Out Loud, the outstanding debut from Costa Rica’s all-girl punk band Las Robertas. Somewhere in between Sonic Youth, Dum Dum Girls and Vivian Girls, the band acquaints tropical fervor as means of idiom, immediately sounding as confident and vigorous as Spain’s punk-tropic bands Triangulo de Amor Bizarro and Veracruz. Las Robertas morphs from a cultural gap (for the good or the bad), one that could justify their English lyrics and their anxiety to dress up lo-fi as 21st century epoch. Cry Out Loud is comprised of ten mesmeric pieces that go from cold to sweaty, always keeping a cohesive charm that enforces the practice crying out loud as long as one smiles out loud. It’s this kind of fainted subtext that raises Las Robertas from the crowd of punky chicks trying to exemplify today’s riot girl. - CR
Delhotel Records. "Porque te hiciste blanco?" ♫♫♫
26. Protistas - Nortinas War
Cazador. "Volar en Llamas" ♫♫♫
With one foot on a shadowed hallway of Nirvana’s Bleach, and the other on a bright empty house in Santiago, Protistas’ sound is both, fundamental and cacophonic (on its most positive definition), humid and overwhelmingly mellow. Although straightforward and painfully human, Nortinas War is hardly meant for mass-consumption. Like many of today’s -revived- old-fashion aesthetics, they are a band that yearns for flannel shirts as a way to step back into bare essentials. Title track “Nortinas War” ventures on an indie-folk arena, keeping vocals out of the landscape for most the entire song, building echoes and bricks of redemptive chasm, so when the vocals do arrive, they’re tender dreamy whispers and the broken pieces of an inner-war mayhem. - CR
25. Napoleón Solo. Napoleón Solo En La Opera
Independiente. "Perdiendo el Tiempo"
Napoleón Solo En La Opera brings some of the year’s greatest rock songs; tormented vocals ("Lolaila Carmona"), disco-induced synths ("De Noche"), unpolished hooks ("Hola Que Tal"), and a whole list of unforeseen mechanisms, above all, it’s the one rock album of the year with a personality. Every Latin hipster got disco-strings Diabetes this year, but Napoleón Solo provides an unmeasured cure with steady drums and reasoning rumbles, that are also very mainstream-friendly. It’s not as avant-garde as the usual albums that show up on our year-end list, but this is one of the most beautifully crafted albums of the year, fully to the edge and in the middle of our youth rush. - JSB
24. Aias - A La Piscina
We use to think "La Truita" was a homage to la tortilla, when it's actually a homage to the omelette, we're still in absolute love with it. When reading any text, one must appreciate the music form & aesthetics before consuming the text’s actual topics, this breaks any language barriers without the cheesy ‘music is its own language’ cliché. Aias’ debut A La Piscina is a personal music venture with the charm of a scrapbook and the right rhythm sections. In fact, this album is probably the greatest revivalist moment since Tijuana No!’s “Spanish Bombs” cover. Without subordinating into the themes of the lo-fi renaissance, these three ladies deliver an exhilarating debut; it’s concise (on its own terms), nostalgic and practitioner of the hand-to-hand throwback. - JSB
23. Prehistóricos - La Orquesta Ocúlta
Independiente. "No Tenemos Remedio" ♫♫♫
Prolific songwriter Tomas Preuss and his bandmates Jessica Romo and Felipe Moreno take their name seriously. They make music that is primal and instinctive and untarnished by modern embellishment. The band was inspired by Fernando Pessoa’s ideas about human imperfection that he expressed in The Book of Disquiet (“everything we do, in art and in life, is the imperfect copy of what we thought of doing”), as well as his ideas about the complexity of self and the many separate selves in each person ("my soul is a hidden orchestra; I know not what instruments, what fiddlestrings and harps, drums and tamboura I sound and clash inside myself. All I hear is the symphony”). Prehistóricos’ debut album, La Orquesta Ocúlta, explores all of these complexities and imperfections thoughtfully and honestly. - BM
22. Astro - Le Disc De Astrou
Astro arrives to Chile’s awesome scene as the new divisive kids on the block. When I say divisive, think of it in its most literal understanding; the love and hate generated by Astro’s galactic-induced songs speak for themselves and reaffirm the band as one of the most arousing and provocative revelations. When we first encountered the band Astro was the luminous project of Octavio Cavieres and Andres Nusser, two young guys driving a spaceship, a couple of months later and they found themselves recruiting two other pilots, a sign of success. “Maestro Distorsion” (a hit on the rise) brought them attention right quick; Le Disc De Astrou hopes to find its place and ground. - CR
21. Ceci Bastida - Veo La Marea
Independiente. "No Me Conoceras"
Enter Veo La Marea and experience the aggressive mantra, the summation of militant songs made out of well-executed ideas and sonic venture. After providing a generation with a true classic as “Pobre de Ti” and making the best version of “Spanish Bombs” one can think of with Tijuana No!, Ceci Bastida’s solo career is at full throttle with Veo La Marea, her compelling and completely triumphant first solo album. While most female singers around chop their emotions through sympathetic corners, Ceci’s serves from aggressive styling, which can be beautiful too, and above all, very rhythmic. Veo La Marea is not an angry album; it just reveals actual warmth from social-political topics and relationships through unsuspected, captivating stern. It’s Ceci’s ownership of the medium what makes this a revelation album and one of the year’s essentials. - CR
20. She's a Tease. Millonaria
Happy-Fi. "Calabozos y Princesas"
Those of us not fully immersed in Mexico’s independent scene might not understand the expectation for the debut album by She’s a Tease, apparently, one of the most anticipated albums in years. Outside, they were virtually unknown; it’s fair to say that to the rest of the world, they were officially born with “Datos Intimos”, an indisputable anthem of 21st century love. Monterrey is home of the new school of cool Mexican bands, She’s a Tease might be the most hip, mad-decent friendly act in the country. Once you pass their image and the trends, there’s a tremendously talented band behind Millonaria, home of some of the oddest and coolest ideas put into record this year. Millonaria is worthy of much of its hype; it’s a mirror ball, an achievement. - JSB
19. Julieta Venegas. Otra Cosa
Sony Music. "Eterno"
Otra Cosa—the feeling that Julieta Venegas is calm, collected, and at ease with herself and her work. It’s a common argument that great art stems from conflict and turmoil, and there are certainly examples of this in every form. But art doesn’t cease to exist when the tide begins to subside. Pop music, in particular, can’t entirely rely on a single emotive aesthetic. Pop music is an art of a disposability unsurpassed by anything besides cooking. Otra Cosa is not some mind-bending breakthrough that transcends sound, it’s not the sequel to Bueninvento, it’s not fundamentally different from anything the singer has done before—who said it had to be? It’s simply another solid Julieta Venegas record in every sense of the word, with all the hallmarks and idiosyncrasies that have made her one of the most important figures of Latin music’s past 20 years. - AC
18. Torreblanca. Defensa EP
Independiente. "Nunca acabo lo que empiezo"
Juan Manuel has come a long way since cutesy songs a la “Pancakes” or “Nada Me Saca de la Cama”, his music has evolved into songs that are hard to spoil, between the brimming and the transcendental, and the nihilist soundscape. Under the format of a band, Torreblanca exclaims autonomy in all four tracks that comprise the captivating and far-fetched debut Defensa EP. And it doesn’t hurt to have Andrea Balency as a member of the band; she does some of the most outstanding vocals I’ve heard in a while. This is a pop record worth of investment on just about any of its layers; it’s polite, agonizing, audacious, but most of all, an overture of music’s very own virtues and contradictions. Torreblanca’s anxiety to portray pain as a valuable, healing and untamed resource for inspiration. A wonderful, edgy and ferocious debut. - CR
17. Delorean. Subiza
True Panther. "Simple Graces"
First things first: What do we make of Delorean? Are they the sunnier form of the “chillwave/glo-fi/tapecore” movement? Are they basically a Scandinavian blisscore techno act in Xavi kits? Are they really just a rock band with house accents? In reality, they’re obviously a mix of all three propositions. They share the same passion for effects processing and shoegaze affinity as your Washed Outs and Neon Indians, the same sunny exterior and dreamlike harmonies of the Tough Alliance and Air France (who is perhaps their easiest single comparison), and it certainly wouldn’t be a stretch to accuse these guys of owning a Booka Shade 12” or two. What sets this up-and-coming Spanish band apart is how they choose to blend all of these elements together: as equals, something that’s readily noticeable upon first listen to Subiza. - AC
Sony Music. "Suspira"
Like the best dark comedies, Diego Solórzano’s debut album as Rey Pila is a masterfully crafted narrative that toes the line between tragedy and comedy with impressive agility and creates a functionally dysfunctional family of songs. But unlike most dark comedies in which the humor is masked by the morbid, the music’s cheerful melodies and buoyant rhythms almost betray the melancholy and disenchantment of the lyrics, while allowing the gloom to float just below the surface. This sounds hard to pull off (because it is), but it helps that Rey Pila delivers the vocals with a cheeky and irreverent, almost smug self-awareness, which is a departure from Solórzano’s less subtle days in Los Dynamite. The result was a half in English, half in Spanish, clever and misleadingly upbeat album. - BM
15. Klaus & Kinski. Tierra, Trágalos
Jabalina. "Mama no quiero ir al colegio"
The genre-defying Spanish group Klaus & Kinski haven’t quite figured out what they’re about. Or maybe they’re not willing to compromise just yet, and that is apparent in their latest album, Tierra, trágalos, which might be as close to a multiple personality disorder diagnosis that an album can get. At times they are bouncy and irreverent like Bam Bam or Capullo, but then they’ll be spacey and wistful like Juan Son or Bat for Lashes, and later on they’ll be elegant and majestic like Beirut. And while that might seem off-putting, in this case it really is the more the merrier. With Tierra, trágalos, Klaus & Kinski demonstrate that it is the versatility of their eclectic sound that is the band’s core strength. - BM
14. La Ola Que Quería Ser Chau. Películas Caseras
Aching romance in the midst of an unsettled party-going background, infectious guitar riffs, and cheering kids living the dramatic moment buoy the extraordinary new release by Argentina’s La Ola Que Quería Ser Chau. Like some of their contemporaries (Black Kids, Los Campesinos), it would be extremely easy to dismiss them as plain revivalists, but with this much acquired sonic rupture, their punk-to-disco qualities and their young-blooded progression are just too much of a good thing to overlook. The warmth of Películas Caseras is the warmth of a jam-packed household of friends and memorable songs. They prove romance is not boring and that every heart-bleeding instance should be confronted, even if that means you’ll keep documenting your revolution with a Sharpie and asking your folks for vitamins. - CR
13. El Sueño de la Casa Propia. Historial de Caídas
Pueblo Nuevo, "Acomodate en el Suelo" ♫♫♫
There’s nothing really original about Historial de Caídas . Actually, now that I think about it, there’s nothing really original about El Sueño de la Casa Propia, either. I mean, glitchy, sample-fueled electronica has been making its way around clubs for the past 20-25 years or so. Much of this kind of stuff could rightfully be accused of being easy, lazy, boring, or confused (I’m looking at you, Greg Gillis). However, there are certainly exceptions that float up from time-to-time: You've Come A Long Way, Baby , Since I Left You, and Thunder, Lightning, Strike are perhaps the quickest that come to mind—and for good reason. Each of those records is a complex, dedicated, and gutsy album, yet also built-up a sincere and engaging narrative that kept their unapologetic thievery (in the legal sense) from seeming wrong and empty. - AC
12. El Guincho. Piratas de Sudamérica
El Guincho was working with exclusively personal moods (Alegranza!) —you had to be there in the first place in order to grasp the feeling. Of course, it didn’t help that that debut album was stacked with cacophonous sampling and instrumentation—you couldn’t exactly be blamed for not loving every song on it, especially if you aren’t the type of person who salivates over Animal Collective leaks. But on Piratas de Sudamérica, El Guincho trades the disparate sound collages for “straightforward” (by his standards) covers of the Cuban and South American songbooks. And it’s fantastic. El Guincho has delivered on his debut’s substantial promise, expanded his sound, and established a greater foundation of personality all within this 5-song salvo. Hopefully, the rest of his Piratas series will hold serve, but at the least, he’s given us a lot to enjoy, absorb, and remember. - AC
11. Los Punsetes. LP2
Scattered rock is best when dotted by peculiar nostalgia, even better at the hands of an enfant-terrible band like Los Punsetes. This hot band from Madrid is the real deal when it comes to rock melting geographical distinction; in a sort of Atlantic Ocean adventure, they have managed to surpass their celebrated debut with LP2, a splendorous set of songs deeply carved in pop’s perplexing bizarreness. With the help of producer David Rodriguez, they've polished one of the best albums of the year. LP2 is a killer, a reunion of exquisite songwriting and top-notch execution. For those completely unaware of Spain’s pop idiosyncrasy, this might be a hard album to sell, but this album is guaranteed to wash away any kind of self-esteem obstruction preventing you to stop for a moment and laugh at yourself or the person next to you. - CR
10. Lido Pimienta. Color
Independiente. "La Minga"
Colombian darling Lido Pimienta would qualify as one of those true shining definitions of artistic truism. Her artiste qualities as a singer, writer and illustrator not only speak for themselves, they outshine their own spectrum.The structure of the album is simple, delightful songs divinely connected to Lido’s vivid persona, all envisioned and executed for the senses. Her gifted vocals direct her songs on cosmopolitanism and inner strength/choice. “La vibracion te guiara... y la musica te calma y sana”, it goes beyond its words to literally loop music from one state to another, and from one purpose to another. Lido understands composition and art as an ongoing stimulating medium (‘the triangular prism’). Having said that, her songs display as much personality as musicality. A stunning debut whether in chops or its entirety. - CR
09. El Guincho. Pop Negro
Young Turks. "(Chica-Oh) Drims"
While the album was evidently meant to be more put together, and it succeeded in that mission, my main issue with it was its lack of narrative. It’s trajectory was a very straight, marked path that, despite having a clear route, didn’t seem to have any particular destination. In this, Pop Negro failed where Alegranza! and the more recent first volume of Piratas de Sudamerica (which I would have liked more time with before the release of a new album), succeeded. Even though Pop Negro is not the sartorial equivalent of a multi-colored, multi-textured, heavily accessorized Claudia Kishi or Clarissa Darling wardrobe that I had hoped for, it is still a masterful work of psychedelic pop in that it manages to remain clean and sleek even with all the layers of percussion. It’s an exercise in restraint that would make Coco Chanel proud. - BM
Cosmica Records. "Una Salida"
There’s something perfect about this record. Something terribly familiar without this meaning it’s neither fresh nor original. ‘Cause it is, and boy, how, how powerfully
07. Odisea. Odisea
Oveja Negra. "Nuestra Casa de Violencia"
A one man’s odyssey is only as adventurous and transforming as his surrounding. If such backdrop is conditioned with the possibilities of a blossoming soundscape, an individual can march for his own cause and inspire its own revolutions (as imaginary or extraordinary they may seeem). Odisea is the work of an auteur at the peak of musical venture. Odisea is a personal record in-provision of Alex Anwandter’s pop virtuosity, and his relationship with Santiago de Chile’s self-analytical character. The ex-Teleradio Donoso vocalist is no longer apprehensive with the psychology and logistics of a generation’s dance floor flooded in tears (Bailar y Llorar). The man with the hypnotizing vocal highs and extravagant opus styling evokes Michael Jackson on his rebellion to confront Chile’s unforgiving vigilant mechanical eye and vigilantes. - CR
06. Gepe. Audiovisión
Daniel Rivero better known as Gepe is today’s leading man in that very special and continuously surprising Chilean indie scene. So many times regarded as a pupil of Chilean icons Victor Jara and Jorge Gonzalez, he proves to be as essential for our generation in his latest album Audiovision, the work of genius. Starting his career with Gepinto, already a cult classic, means to have a massive weight under his shoulders, but Gepe’s miraculous abilities are subdued to his sensibilities, not only are his songs sincere, they speak about the man and the people and the land around him. If he had already shown flexibility in his two previous albums, his latest continues that breed of epic and sophisticated chants, those slices of intense rush that find themselves at a privileged spot in Gepe’s vision of high pop-art. - CR
Grabaciones Amor. "Maria Purisima" ♫♫♫
In terms of musical ferocity, Espíritu Invisible stands at its core. His songs could be described as unparallel chthonic cuts that march between the transcendent and the forgotten (and the ghosts). María y José is simply, a chillwave and nostalgic installment of pop music. The kind of assorted dream that is warped and wrapped through personal approach; Jimenez’s vision is wonderfully conflictive, breezy, and affectionate. An album that feeds from informality rather than practicing form. It sets up its dynamics to assimilate structure; notice the “este album no fue masterizado” hint on the album’s credits. If you practice music form it will be as hard to enjoy as Neon Indian’s Psychic Chasms, but if you instead, feel the form, get ready for an extraordinary album. From the refreshing militant sound to its aesthetics, this is a tremendous achievement. - CR
04. Dënver. Música, Gramática, Gimnasia
Cazador. "En Medio De Una Fiesta"
Five years ago when Mariana Montenegro and Milton Mahan initiated the Dënver adventure they weren’t expecting that a few years later they would have an international mob watching every one of their moves. They should get used to it, Dënver is no longer Chile’s best-kept secret; it’s unofficially, this year’s breakthrough band, the band the cool guys are listening to, the one band we love to cheer in full blasting celebration. Música, Gramática, Gimnasia is like a young adult masterpiece, a trial on error success of a duo in full command and affection to their art. You know when you ran a marathon and you see the final line on the horizon, and you start visualizing what’s at the other end, well, Dënver's album is the embodiment of that desired, assuring and cheering response awaiting at the other end. Gold medals for this one. - CR
03. Triángulo de Amor Bizarro. Año Santo
Mushroom Pillow. "El Baile de los Caídos"
Mena’s copious gestures are self-defining, self-driven, and self-pleasing; this is where her skills come in handy, she loops our generation’s flashy, anti-preventive narrative through her own skin and pop-glam commemoration. When approaching Mena, one must understand this isn’t a pastiche of chamber pop songs crafted for revival purposes, yes, the songs sound retro, but only because they’re channeled through Javiera’s revisionist sensibilities. Mena is instead, a diaspora of nine songs that are pushed forward into a gravity sprawl of prisms and shooting stars. Javiera is a pupil of pop music’s endless corners, with influences that go from Daniela Romo to Karen Carpenter, flirting around the Cocteau Twins, Juan Gabriel, and of course, Italian 90s music. This isn’t electro-pop or sophisticated kitsch music, this is pop idiom at its finest. - CR